[Black Box]transformative hotel design meets PDX in 2055

University of Idaho[Professor Montoto][Arch 553.02][Graduate Architecture Project]Fall 2009

Tyler Ashworth

[2]

Daily life in the 21st century is already perceived and experienced through a number of ‘filters’. In our technologically advanced society we find our lives permeated by digital screens…televisions, computer monitors, iphones, flat panels at the gym, projected LED media, LCD electronic displays and more. Digital media and communications affects every aspect of the way we live. Our reality becomes altered by the affect of these digital filters. In the year 2055 we can only expect this digitally filtered reality to become more total. As LCD technology meshes with nano-technology, its perceivable that any surface could become infused with media and entertainment. Digital 3D experiential realms will also become a common part of life. In light of these advances, travel and tourism will radically change. In response to the need for lighter global footprints, long range business and leisure travel could be replaced by shorter trips and electronic conferencing.

Considering the totality of digital filtration and altered perceptions of reality, there will be a need to make aware those in society whom find themselves subject to this different way of life. No particular change is in mind here, for better or for worse, the simple idea is to exploit the notion of a filter, both digital and analog, physical and perceived, so that people become aware of the process itself.

ABSTRACT ON 2055

[3]

[i] DISTILLING THE FUTURE - brief essay abstract on 2055

[1] ARCHITECTONIC OBJECT - light + filters, sketch model - revisions, second model - materiality + construction - chaotic filtrations, the finished object - system filters

[2] PORTLAND VISIT + DISTRICT ANALYSIS - Portland’s Cultural District - cultural strata - portland site visit

[3] PROGRAM ANALYSIS + SCHEMATIC DESIGN - program distilled - filter explorations - sketch plans + sections

[4] DESIGN DEVELOPMENT - perspective

- completed project drawings

[5] DETAIL DEVELOPMENT - logos + techne - materials research - detail drawings

[6] TECHNICAL INTEGRATION - systems + services building plan + section - mpe detail overlays

CONTENTS

[4]

[1] ARCHITECTONIC OBJECT

Creation of an architectonic object served as a synthesis of our concept of the future, our preconceptions of the city of Portland, and our design sensibilities concerning the tecton of these futuristic concepts. It became the materialization of these three elements to serve as the basis of our schematic design moving through the project.

Sensibilities about material connections, spatial relationships, and greater conceptual program were all developed in this phase and object.

[5]

Initial sensibility concerning the architectonic object was to allow the physical form to manifest into what would be a highly interactive piece in which the user is fully engaged.

Concepts about the filtered reality also led to a play in light, reflection, and transparency.

Shown is a sketch model exploring these ideas of light play and observation.

LIGHT + FILTERS . . . RE-CONSTRUCTING REALITY

[6]

REVISIONS IN LIGHT + FILTRATION

light source

opaque light absorbent enclosure

image + color filters (fixed + movable)

final image projection screen

THIN

As materials have become more scare, design objects must be precise, and light in nature.

DYNAMIC/INTERUPTED

Conflicting angles in the screens + filters represent the conflict that occurs between the environment/human-kind and hum-kind/itself in the future.

LIGHT PROJECTION

The use of light and projection is a direct correlation with the way in which people experience

Revisions to the initial concept of the architectonic object brought the piece to a realistic scale and included a permanent operable light souce.

Here the idea of a final combined projected image was introduced. So not only was light a medium for play now, but in combination with a series of interactive filters it led to an end result.

advancements in digital technology increase the multiple lenses in which people experience reality through

“

”

[7]

(5x) wood base support plates (typ.)

(1x) light source (maglite©)

(5x) projection filters, varied size

depicting mapped systems of

City of Portland

sub-assembly:- wood frame- acetate sheet- printed system images

(1x) projection screen

sub-assembly:- wood frame- stretched cotton fabric- machine screw + bolt fasteners

(16x) machine fasteners

(4x) 1/4” hollow copper tubing

BAS

E IL

LUM

INVA

TIVE

LAY

ER

|

FIL

TRAT

ED S

YSTE

MS

OF P

LACE

|

STR

UCTU

RAL

SUPP

ORT

The architectonic object is a commentary on the increase in visual digital media. In a very crude form it places the viewer in front of a screen upon which a series of layered images are projected. The notion of a closed box containing the projection apparatus is done away with, making the viewer more aware

of the multiple filters that visual digital media impose on one’s life. There is a lacking order in the layering and angles of the filters as a direct analogy for the continuous onslaught of digital communication we are exposed to, without sense of order in reality.

MATERIALITY + CONSTRUCTION

[8]

The object functions through three primary components, light, filters, and a projection screen. The three components are constructed of multiple materials, of which the focus is around the wood, copper piping, and transparent acetate sheets.

The overall construction of the apparatus is fairly thin and light alluding to the lacking of resources looking towards 2055, and the need for somewhat simple and direct forms, that use materials sparsely as needed. The system is ordered with the viewer in mind celebrating the projection screen which is placed at viewing level and crowns the object. Elaborate connection detail on the screen also helps to call it out and ensure proper performance.

CHAOTIC FILTRATIONS . . . THE FINISHED OBJECT

[9]

SYSTEM FILTERS, AN ABSTRACTION OF PORTLAND

Five filter screens are displayed on the architectonic apparatus. The screens are printed with graphic representations of Portland. Each graphic is an isolated system contained within the city that starts to describe the place and urban condition. Water, greenspace, points of interest, public transit, and the city grid are all displayed as a way to map out and understand the intersections of these systems. There is consideration given to placement of the images to reflect their level of importance and impact in the year 2055.

5. figure/ground of portland

4. transit, pdx tri-met

3. cultural landmarks

2. willammette river

1. green space + natural systems

[10]

[2] DISTRICT ANALYSIS + PORTLAND VISIT

Investigation of the cultural district in Portland gave insight into the essence of the city. This process not only helped to identify place, but in the process it identified the context in which our hotel would be sited into. Having a better understanding of the layers and cultural ammenitites present in the city would allow for a more meaningful ‘resort’ hotel design

Working with teammate Laura Martin, the cultural district was broken up into distinct layers, similar to those built into the architectonic object. In preparation for the visit a historical walking tour of the district was also prepared.

[11]

Portland Center For the Performing Arts Rapp and Rapp Architects Constucted: 1928

South Park BlocksLandscape Architect: Louis Pfunder Commissioned: 1852

Portland Art MuseumArchitect: Pietro Belluschi Constructed: 1932

Ira Keller Memorial Fountain Architect: Angela Danadjieva Constructed: 1970

1

2

3

4

1

24

3

Portland’s Cultural District, based around the spine of the South Park Blocks, is home to a number of cultural and educational institutions of the city and many of its streets are lined with eclectic boutique stores, cafes, and other lo-cal shops. Distinct features of the district include the street sign caps, denoting the district in which you are present. In the South Park Blocks a number of water drinking fountains can be seen, known as the ‘Benson Bubblers’ after the lumber baron, Simon Benson that donated them to the city in 1912. At the southern most end of the cultural district lies the 49-acre Portland State University campus which was founded in 1946, although many of its campus buildings date to earlier times. The city’s premiere art and cultural institutions, the Portland Art Museum and Portland Center for the Performing Arts affront the northeastern ends of the park blocks. The Portland Central Library, a Georgian Revival building dating to 1913, designed by A.E. Doyle can be found on SW 10th Ave. at Taylor.

Based around the spine of the South Park Blocks, the Cultural District is home to a number of cultural and educational institutions of the city and many of its streets are lined with eclectic boutique stores, cafes, and other local shops. Distinct features of the district include the street sign caps, denoting the district in which you are present. In the South Park Blocks a number of water drinking fountains can be seen, known as the ‘Benson Bubblers’ after the lumber baron, Simon Benson that donated them to the city in 1912. At the south-ern most end of the cultural district lies the 49-acre Portland State University campus which was founded in 1946, although many of its campus buildings date to earlier times. The city’s premiere art and cultural institutions, the Portland Art Museum and Portland Center for the Performing Arts affront the northeastern ends of the park blocks. The Portland Central Library, a Georgian Revival building dating to 1913, designed by A.E. Doyle can be found on SW 10th Ave. at Taylor.

PORTLAND’S CULTURAL DISTRICT

[12]

CULTURAL STRATA

Located outside of the dense urban core of the city center, the cultural district is able to maintain a slightly lower density in the range of medium to high.

The majority of the density within the district is main-tained by the cultural institutions, the PCPA and the PAM. Some mid-rise resedential and church buildings to the south of the district maintain a medium density.

9

Figure grounD Densityhigh

meDium

low

The Cultural District proper, is based around the South Park Blocks, just southwest of the city center and downtown core.

Officially, the district is bound by SW Salmon St. and SW Market St. to the North and Sotuh, and by SW 10th Ave. and SW Broadway Ave. to the West and East.

Located on the southwest side side of town, below Burnside, the cultural district blocks are based on a

shifted city grid, that runs NE-SW and NW-SE instead of the more traditional Northern oriented city grid.

The grid is based on the Lownsdale plan, 200’ square city blocks, although the park blocks interupt the grid with their half width of 100’.

SW Salmon St.

SW Market St.

SW 10

th A

ve.

SW B

road

way

Ave

.

SW Main St.

SW Madison St.

SW Jefferson St.

SW Columbia St.

SW Clay St.

←

N←

N

Located outside of the dense urban core of the city center, the cultural district is able to maintain a slightly lower density in the range of medium to high.

The majority of the density within the district is main-tained by the cultural institutions, the PCPA and the PAM. Some mid-rise resedential and church buildings to the south of the district maintain a medium density.

9

Figure grounD Densityhigh

meDium

low

The Cultural District proper, is based around the South Park Blocks, just southwest of the city center and downtown core.

Officially, the district is bound by SW Salmon St. and SW Market St. to the North and Sotuh, and by SW 10th Ave. and SW Broadway Ave. to the West and East.

Located on the southwest side side of town, below Burnside, the cultural district blocks are based on a

shifted city grid, that runs NE-SW and NW-SE instead of the more traditional Northern oriented city grid.

The grid is based on the Lownsdale plan, 200’ square city blocks, although the park blocks interupt the grid with their half width of 100’.

SW Salmon St.

SW Market St.

SW 10

th A

ve.

SW B

road

way

Ave

.

SW Main St.

SW Madison St.

SW Jefferson St.

SW Columbia St.

SW Clay St.

←

N

←N

Roadways within the district follow the shifted grid and al-ternate one-way directionality. The streets maintain the 60’ width also planned by Lownsdale. There are two unique moments that break this pattern. Main St. between the PCPA buildings is occasionally blocked to traffic, and Madi-son St. breaks at the park blocks allowing a double block for the park and PAM.

Multiple Tri-Met bus stops and three streetcar stops are also located within the district.38

Circulation + Transit Green + Open Urban Space

↔roadways

one-way directionality

sidewalks + ped. paths

bus stops

portland streetcar stops

south park blocks

public plazas (hardscape)

A hard spine is formed by the South Park Blocks by which the Cultural District is based around. The blocks provide refuge for homeless, local residents, and Portland State University students from the campus to the south. The parks also host a weekly farmers market at the northern-most 2 blocks every Wednesday.

Five hardscaped public plazas are also formed by the cultural institutions to the north and the residences to the south.

←

N

←

N

Roadways within the district follow the shifted grid and al-ternate one-way directionality. The streets maintain the 60’ width also planned by Lownsdale. There are two unique moments that break this pattern. Main St. between the PCPA buildings is occasionally blocked to traffic, and Madi-son St. breaks at the park blocks allowing a double block for the park and PAM.

Multiple Tri-Met bus stops and three streetcar stops are also located within the district.38

Circulation + Transit Green + Open Urban Space

↔roadways

one-way directionality

sidewalks + ped. paths

bus stops

portland streetcar stops

south park blocks

public plazas (hardscape)

A hard spine is formed by the South Park Blocks by which the Cultural District is based around. The blocks provide refuge for homeless, local residents, and Portland State University students from the campus to the south. The parks also host a weekly farmers market at the northern-most 2 blocks every Wednesday.

Five hardscaped public plazas are also formed by the cultural institutions to the north and the residences to the south.

←

N

←

N

Portland is known for its culture...Portland is ‘wierd’...it is a melting pot, for an excessive bleeding out of cultural styles, food, dress and more. Similar to Rome, Portland is built up of layers, but not so much layers of historical built space, rather layers of cultural elements.

At an architectural level, the cultural district is much the same. There are top layers, easily apparent to a visitor. Upon closer inspection, deeper layers of urban conditions reveal themselves. With each new layer the unique nature of the district makes itself more apparent and separates itself from the fabric of the city.

39

Historical Impact

Planning for the South Park Blocks in 1852 was the first step in creating the cultural district. In 1877 the first trees were planted, bringing a realization to the space.

Surviving buildings in the district date to as early as 1910, with rennovations as recent as 2005. Relative size and intensity of the dates above suggests historical importance and impact of the building on the district and Portland at large.

structure as builtrennovation / additions

original bldg (destroyed or planned)

Cultural Strata

←

NPortland is known for its culture...Portland is ‘wierd’...it is a melting pot, for an excessive bleeding out of cultural styles, food, dress and more. Similar to Rome, Portland is built up of layers, but not so much layers of historical built space, rather layers of cultural elements.

At an architectural level, the cultural district is much the same. There are top layers, easily apparent to a visitor. Upon closer inspection, deeper layers of urban conditions reveal themselves. With each new layer the unique nature of the district makes itself more apparent and separates itself from the fabric of the city.

39

Historical Impact

Planning for the South Park Blocks in 1852 was the first step in creating the cultural district. In 1877 the first trees were planted, bringing a realization to the space.

Surviving buildings in the district date to as early as 1910, with rennovations as recent as 2005. Relative size and intensity of the dates above suggests historical importance and impact of the building on the district and Portland at large.

structure as builtrennovation / additions

original bldg (destroyed or planned)

Cultural Strata

←

N

Portland is known for its culture...Portland is ‘wierd’...it is a melting pot, for an excessive bleeding out of cultural styles, food, dress and more. Similar to Rome, Portland is built up of layers, but not so much layers of historical built space, rather layers of cultural elements.

At an architectural level, the cultural district is much the same. There are top layers, easily apparent to a visitor. Upon closer inspection, deeper layers of urban conditions reveal themselves. With each new layer the unique nature of the district makes itself more apparent and separates itself from the fabric of the city.

[13]

PORTLAND SITE VISIT

The studio visit to Portland allowed insight into effective design sensibilities and creative solutions in the built environment. From investigations of hotels both old and new, an understanding of guest ammenities and needs in a ‘unique’ environment was gained. Buildings such as the new Portland Courthouse provided an example of how to deal with the moment at which two or more systems connect. These collisions and spatial interconnections served as an example in design through the rest of the project

Visiting local theatres, notably the Old Armory Theatre, also opened up the idea of artistic performance permeating the hotel program as it did in program analysis and schematic design. In these visits the notion of a black box theatre focused hotel was born.

[14]

[3] PROGRAM ANALYSIS + SCHEMATIC DESIGN

Understanding the notion of the ‘commonplace’ resort hotel in present day, and the paradigm shift that will certainly occur with resort hotels in the future, the program analysis phase became very important. Portland’s unique nature and the concept for a transformative hotel exploiting the idea of filtered reality, meant changing typical programmatic spaces to custom spaces that fit within the concept for the hotel.

It was here that the program for the hotel became defined as a ‘resort’ based around performance based arts and visual media. Much like Hotel Proforma, this new space in Portland would be theatre intensive, exploiting not just the digital filter, but the physical, and in this case, creative one as well.

[15]

# of spaces typ. Size total size floorGuest Rooms and BalconiesNet area of one typical guest room 50 442 22,100 4 ‐ 12*Net area of one 2‐bedroom Artist in Residence unit 30 2,830 84,900 4 ‐ 12Total area of all guest rooms & units 107,000

Circulation, linen, vending, & storage 19,400 4 ‐ 12

Total area of guest room/unit block 126,400Total area of all balconies 8,998 4 ‐ 12

Total Guest rooms/units and balconies 135,398Public Interior FacilitiesLobbyMain Lobby 2,152 1Seating area 538 1Front desk 430 1Baggage storage 108 1Restrooms 215 1Subtotal 3,443

Retail Shops 1,076 1 or 2

*Dining Rooms/LoungesHotel restaurant 1,345 1 ‐ 3Specialty dining 1,345 1 ‐ 3Cocktail lounge 538 1 ‐ 3Restrooms 215 1 ‐ 3Subtotal 3,443

*Performance SpaceBaroque Theatre Mechanics Hallway 9,146 1 ‐ 4De La Guarda Catwalk Theatre 1 ‐ 4Live Human Art Installations 1 ‐ 4Digital Screen Play Areas 1 ‐ 12Subtotal 9,146

*Guest AmenitiesBicycle Valet + Check Out 200Spa and fitness facilities 5,000 4 or 12Subtotal 5,200

*Public Exterior FacilitiesOutdoor Perfromance Space 21,860 12 and/or 1Total Public Exterior Facilities 21,860

PDX Resort Hotel Program Analysis

Total Public Facilities 44,168

Support/Service FacilitiesFood PreparationHotel restaurant kitchen 1,345 1 ‐ 3Main kitchen 1,345 1 ‐ 3Banquet kitchen 538 1 ‐ 3Subtotal 3,228

Back of House DeliveryLoading platform 269 1General storage 646 1Function storage 269 1 ‐ 3Refuse area 161 1Receiving office 161 1Security 108 1Subtotal 1,614

Employee FacilitiesLockers & restrooms 807 1 ‐ 3Cafeteria 269 1 ‐ 3Lounge 161 1 ‐ 3Subtotal 1,237

HousekeepingLaundry 699 1 ‐ 3Housekeeping storage 430 1 ‐ 3Subtotal 1,129

Repair & MaintenanceEngineering shop 538 b ‐ 3Computer room 161 b ‐ 3Subtotal 699

Equipment RoomsTelephone 183 b ‐ 3Mechanical/electrical 2,152 b ‐ 3Subtotal 2,335

Administration 1,076 1

Circulation 269 all

Support/Service Facilities Total 11,587

Space SummaryTotal area of guest rooms/units & balconies 135,398Total area of public facilities 44,168Total area of support/service facilities 11,587

Grand Total of Spaces 191,153

Square Footage Details

Total Hotel Square Footage Requirements 191,153Total Allowable Floorplate 31,200Max. Massing, Floors Required 7 floorsHeight Allowance 100’ + BonusesHeight Zoning of Eastern Lot 350’

Guest Rooms 41,500Artist in Res. Units 84,900 126,400Lobby 3,443Retail Shops 1,076Dining Room/Lounge 3,443Perf. Space 9,146Guest Amenities 5,200Exterior Perf. Space 21,860 44,168Food Prep. 3,228Delivery 1,614Employee Facilities 1,237Housekeeping 1,129Repair & Maint. 699Equipment 2,335Administration 1,076Circulation 269 11,587

182,155

PDX Resort Hotel Program Analysis

Guest Rooms + Artist in Residence Suites (Curved Viewing Facade - River Response)

Black Box Theatre Spaces (Formal + Pronounced)

Retail Shops / Dining (St. Front Presence)

Indented Public Space (Response to Park Blocks)

# of spaces typ. Size total size floorGuest Rooms and BalconiesNet area of one typical guest room 50 442 22,100 4 ‐ 12*Net area of one 2‐bedroom Artist in Residence unit 30 2,830 84,900 4 ‐ 12Total area of all guest rooms & units 107,000

Circulation, linen, vending, & storage 19,400 4 ‐ 12

Total area of guest room/unit block 126,400Total area of all balconies 8,998 4 ‐ 12

Total Guest rooms/units and balconies 135,398Public Interior FacilitiesLobbyMain Lobby 2,152 1Seating area 538 1Front desk 430 1Baggage storage 108 1Restrooms 215 1Subtotal 3,443

Retail Shops 1,076 1 or 2

*Dining Rooms/LoungesHotel restaurant 1,345 1 ‐ 3Specialty dining 1,345 1 ‐ 3Cocktail lounge 538 1 ‐ 3Restrooms 215 1 ‐ 3Subtotal 3,443

*Performance SpaceBaroque Theatre Mechanics Hallway 9,146 1 ‐ 4De La Guarda Catwalk Theatre 1 ‐ 4Live Human Art Installations 1 ‐ 4Digital Screen Play Areas 1 ‐ 12Subtotal 9,146

*Guest AmenitiesBicycle Valet + Check Out 200Spa and fitness facilities 5,000 4 or 12Subtotal 5,200

*Public Exterior FacilitiesOutdoor Perfromance Space 21,860 12 and/or 1Total Public Exterior Facilities 21,860

PDX Resort Hotel Program Analysis

Total Public Facilities 44,168

Support/Service FacilitiesFood PreparationHotel restaurant kitchen 1,345 1 ‐ 3Main kitchen 1,345 1 ‐ 3Banquet kitchen 538 1 ‐ 3Subtotal 3,228

Back of House DeliveryLoading platform 269 1General storage 646 1Function storage 269 1 ‐ 3Refuse area 161 1Receiving office 161 1Security 108 1Subtotal 1,614

Employee FacilitiesLockers & restrooms 807 1 ‐ 3Cafeteria 269 1 ‐ 3Lounge 161 1 ‐ 3Subtotal 1,237

HousekeepingLaundry 699 1 ‐ 3Housekeeping storage 430 1 ‐ 3Subtotal 1,129

Repair & MaintenanceEngineering shop 538 b ‐ 3Computer room 161 b ‐ 3Subtotal 699

Equipment RoomsTelephone 183 b ‐ 3Mechanical/electrical 2,152 b ‐ 3Subtotal 2,335

Administration 1,076 1

Circulation 269 all

Support/Service Facilities Total 11,587

Space SummaryTotal area of guest rooms/units & balconies 135,398Total area of public facilities 44,168Total area of support/service facilities 11,587

Grand Total of Spaces 191,153

Square Footage Details

Total Hotel Square Footage Requirements 191,153Total Allowable Floorplate 31,200Max. Massing, Floors Required 7 floorsHeight Allowance 100’ + BonusesHeight Zoning of Eastern Lot 350’

Guest Rooms 41,500Artist in Res. Units 84,900 126,400Lobby 3,443Retail Shops 1,076Dining Room/Lounge 3,443Perf. Space 9,146Guest Amenities 5,200Exterior Perf. Space 21,860 44,168Food Prep. 3,228Delivery 1,614Employee Facilities 1,237Housekeeping 1,129Repair & Maint. 699Equipment 2,335Administration 1,076Circulation 269 11,587

182,155

PDX Resort Hotel Program Analysis

Guest Rooms + Artist in Residence Suites (Curved Viewing Facade - River Response)

Black Box Theatre Spaces (Formal + Pronounced)

Retail Shops / Dining (St. Front Presence)

Indented Public Space (Response to Park Blocks)

PROGRAM DISTILLED

This layered and color coded spreadsheet illustrates the complexity and intricacy involved in the hotel’s program. Spaces shown in light yellow began as the ‘commonplace’ programmatic areas that are typical to hotels. As they are shown, they reflect the alterations to program that help define the hotel as a performance based nucleus.

Early program diagrams were distilled into massing models reflecting square footage on site and spatial relationships. Vertical zoning was also an issue dealt with during these early stages.

[16]

FILTER EXPLORATIONS

[17]

SKETCH PLANS, SECTIONS, + MASSING

[18]

[4] DESIGN DEVELOPMENT

The DD phase saw the project through to design completion. Revisions from the schematic phase were implemented to help make the hotel more total.

Everyday we are exposed to more and more screens...televisions, computers, iphones, etc. Our realm of living is increasingly digital. It is through these screens, that our reality is filtered. As we step in to the future near 2055, technology will invade our lives. We won’t be able to go far without experiencing some technological filter, that in turn distorts our perception of reality.

The Black Box Hotel seeks to exploit this notion of filtering. Not to correct or exacerbate a filtered reality, but simply make the visitors more aware of it. Aiming to bring people outside of what they know as typical, the hotel filters people through space, allowing them to see and experience the lenses of reality that they are otherwise unaware of.

[19]

B

[20]NO

RTH

PARK

BLO

CKS

UNION RAIL STATIONURBAN PARK BLOCKS(CONTINUING NORTHWEST)

SITE CONTEXT + BUILDING MASS

Two hotel towers are placed on the site in response to the urban park blocks, identified to the northwest in the Pearl District, and the transit hub at Union Station. The east tower is offset in the same fashion as the west tower which subsequently projects strucutre over the existing Federal Building.

Black massing defines the elevated black box theatre space, the icon for the hotel, as well as the pedestrian street level entries which become programmed areas for live theatrical performance.

[21]

STRUCTURAL AXONOMETRICVERTICAL CIRCULATION CORE TOWER

PERIMETER STEEL BEAM GRID

EXTERIOR SHEAR WALLS

TENSIONED TWIN SHEAR WALL CORE

HI STRENGTH CONCRETE COMPOSITE FLOOR PLATES

EXTERIOR DUAL SKIN ENVELOPE• STEEL MESH / LED INTEGRATED ACTIVE SHADING + PERFORMANCE SKIN• HI PERFORMANCE DOUBLE PANE GLAZING

Two hotel towers are placed on the site in response to the urban park blocks, identified to the northwest in the Pearl District, and the transit hub at Union Station. The east tower is offset in the same fashion as the west tower which subsequently projects strucutre over the existing Federal Building.

Black massing defines the elevated black box theatre space, the icon for the hotel, as well as the pedestrian street level entries which become programmed areas for live theatrical performance.

[22]

EXISTING FEDERAL BUILDING

ELEVATIONS

SOUTH ELEVATION EAST ELEVATION

[23]

EXISTING FEDERAL BUILDING

NORTH ELEVATION WEST ELEVATION

[24]

SECTIONS

NORTH-SOUTH TRANSVERSE SECTION WEST-EAST LONGITUDINAL SECTION

[25]

PERSPECTIVES

[26]

E E E

PERFORMANCEENTRY

ENTR

Y VE

STIB

LE

FRONT DESK

LIVE THEATRE / LOBBY

ENTRY

BAGG

AGE

/ RES

TROO

MS

VERTICAL CIRCULATION TOWER

EXTENDED PUBLIC PARK SPACE

VEHI

CULA

R AC

CESS

(GAR

AGE

+ D

ELIV

ERY)

NW GLISAN ST.

NW HOYT ST.

NW P

ARK

AVE.

E E E

North

RETAIL

RETAIL

LOUNGE

SPA + FITNESS E E E E E E

HOUS

EKEE

PING

/ SE

RVIC

E SP

ACE

ADMINISTRATIVEOFFICES

EMPLOYEE FACILITIES

EMPLOYEE LOUNGE

FLOOR PLANS

FIRST FLOOR SECOND FLOOR THIRD FLOOR FIFTH FLOOR 7TH THRU 12TH FLOOR TYPICAL (FLOORS 6 + 13 THRU 19 CONTAINED WITHIN MAIN TOWER)

[27]

RESTARAUNT + LOUNGE

THEATRE RECEPTION

BLACK BOX THEATRE

OUTDOOR MEZZANINE(PARK OVERLOOK)

E E E

BRID

GE C

ORE

(FILT

RATI

ON S

PACE

)

THEATRICS SPACE

ARTIST IN RESIDENCE SUITE

ARTIST IN RESIDENCE SUITE

LINE

N / S

ERVI

CE

E E E

TYPI

CAL

GUES

T SU

ITES

TYPI

CAL

GUES

T SU

ITES

MANIFESTATION:

Filtration and altering the lenses of reality occurs in multiple forms within the hotel to make the experience absolute.

+ Spaces - The realtionships between spaces in vertical strata and horizontal adjacency evoke senes of connection, and disconnect.

+ Materials - Steel mesh and LED integrated skin on the west and south facades turns the building into a filter allowing its character to change and be experienced in different scales from far away and inside.

+ Circulation - Placement on the site filters people in and out of the park blocks and to smaller public green spaces located in the hotel. Vertical circula-tion also has its own character as a detached ele-ment, instead of typical central core. This allows the central core to be experienced in horizontal passage to room blocks with connections to the outdoor environment.

+ Program - Alterations in the program of the hotel itself create a black box theatre, open-air live performance spaces, and other more intimate performance spaces. Integration of theatre brings awareness to a past reality, lesser known in 2055.

FIRST FLOOR SECOND FLOOR THIRD FLOOR FIFTH FLOOR 7TH THRU 12TH FLOOR TYPICAL (FLOORS 6 + 13 THRU 19 CONTAINED WITHIN MAIN TOWER)

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[5] DETAIL DEVELOPMENT

The DD phase saw the project through to design completion. Revisions from the schematic phase were implemented to help make the hotel more total.

Everyday we are exposed to more and more screens...televisions, computers, iphones, etc. Our realm of living is increasingly digital. It is through these screens, that our reality is filtered. As we step in to the future near 2055, technology will invade our lives. We won’t be able to go far without experiencing some technological filter, that in turn distorts our perception of reality.

The Black Box Hotel seeks to exploit this notion of filtering. Not to correct or exacerbate a filtered reality, but simply make the visitors more aware of it. Aiming to bring people outside of what they know as typical, the hotel filters people through space, allowing them to see and experience the lenses of reality that they are otherwise unaware of.

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[30]

SECTION

SKETCH

FLOOR

PLAN

SKETCH

INITIAL DEVELOPMENT - DETAIL INVESTIGATION #1

X ICUI ENTERTA INMENT COMPLEX ’S GREEN P IX MEDIA WALL AS

INSP IRAT ION

( IMAGE: S imone G ios t ra & Par tne rs A rch i tec ts )

Initial conceptual materialization of filtration came through the notion of interactive media walls. Outside of live theatre and performance, the idea of a futuristic hotel required some exploration of how a screen could manifest at a larger than life level.

An interactive LED integrated metal mesh wall became the larger than life screen. Allowing guests of the hotel and passerbys to experience the place at a different level.

[31]

Logos gives a conceptual understanding to the design explored in detail. It is the essence of the design and drives the larger conceptual moves, defining what the detail should acheieve. Techne is the material technique, the way in which the concept becomes realized. Techne becomes the art behind the materialization of the essence.

LOGOS

Black Box, a hotel centered around the filtered reality, must confront two issues. First it seeks to pull the guests and artists in, through a series of layers, or filters, both psychological (intangible/experiential) and physical (tangbile/concrete). The high use of these ‘screens’ exploits the notion of a filtered reality making the guest hyper-aware. Second the hotel must explore this issue in a physical manifestation. Filters must truly be experienced, and possibly dynamic, to the same extent an actual black box theatre might.

TECHNE

Manifestation of the filtered effect and physical screen occurs in a number of ways throughout the building. Structure is evident and often celebrated. The systems themselves form a series of layers, rather than a more simplistic single slab. The LED mesh shading system allows maximum guest interaction, making the filtering more realized. A woven steel mesh is operable by each room, and custom graphics can be uplodaed to the LED at the guest’s/resident’s wish, allowing them to personalize their window space.

LOGOS + TECHNEN

Detail Area Investigated in Exploration # 1

[32]

WEBER-650 MATERIAL · STAINLESS STEEL

Sample shown at full scale.Measurements are approximate values.Specifications subject to change.

www.theinoxincolor.cominfo@ theinoxincolor.com

Tel (+34) 93 876 01 1 5Fax (+34) 93 876 00 73

MESH TYPE · FLEXIBLE

ATTACHMENT SYSTEMS

ROD DIAM. · 4 mmDIAM. CABLE · 3x3 mmWEFT WIRE PITCH · 15 mmCABLE PITCH · 110 mm

OPEN AREA · 65 %WEIGHT · 8,7 kg/m2

SA-1 000SA-1 500SA-2000SA-3500SA-4000SA-4500

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10 1600 WALL SYSTEM®1APRIL, 2009

NOTE: 1" SYSTEM SHOWN, 1/4" SYSTEM SIMILAR.

90° OUTSIDE CORNER 90° INSIDE CORNER

90° OUTSIDE CORNER 135° OUTSIDE CORNER

135° INSIDE CORNER135° OUTSIDE CORNER

SCALE 3" = 1'-0"

CORNERS

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PICTORIAL VIEW

..................................................................................................

Architectural MeshTHE INOX IN COLOR®

..................................................................................................www.theinoxincolor.cominfo@theinoxincolor.com

Tel. (+34) 93 876 01 15

Fax. (+34) 93 876 00 73

Metallic weaves, flexible and rigid meshes with many availableshapes and designs that allow to cover large external surfaces,create virtual interior rooms or generate visual illusions by combiningthem with light and colors.

The stainless steel architectural meshes are very verstile both in their applications and in theirproperties. A large range can be manufactured in the requested characteristics suitable for eachproject with also the most advisable attachment systems. Outdoor closings for largescale projectsthat can fulfil both esthetical requirements and functionality in just one material.Indoor wall and column claddings, ceiling systems, space dividers or filter screening or someother typical uses for these materials.

The Inox in Color offers a wide range of Attachment Systems. They areproposed according to the specific characteristics of each Project and itsapplication.

All Attachment Systems must be sized based upon your project requirements. Our TechnicalDepartment can work with you adapting our attachment ideas in your projects or developing newattachment techniques to know your specific needs.Each Architectural Mesh can fit with different fixing systems in order to create different spaces forArchitecture, Engineering, Interior Design…Our Technical Department will try to advise and solve doubts about your project designs. Consult ourqualified specialists for further detailing assistance.

The material Cut Sheets below from Inox and Kawneer provided a great reference for the detailing and use of their products. Inox’s architectural mesh has multiple weave and connection detail options. Considering the nature of the hotel and the concept of filtration, the cut sheets below reflect not only the best choice from the company, but ultimately the type of facade needed conceptually for the hotel.

Dealing with a curtain wall system was a new endeavor and again Kawneer’s details provided great reference. Here it was easy to see the avaliable options and possibilities for dealing with a corner condition. Spec sheets also gave insight into thermal breaks and other system configuration details common to a curtain wall.

MATERIALS RESEARCH + CUT SHEETS

[33]

DETAIL INVESTIGATION #1 - FLOOR PLAN

CORNER EXTRUDED ALUMINUM MULLION, CUSTOM FABRICATED & ANGLED[08 44 13]

4” STEEL SQUARE TUBE FRAME, SPECIAL CORNER BOX ANGLE[05 12 13]

4” STEEL SQUARE TUBE FRAME @ 8’-0” O.C. (TYP)MESH WALL SYSTEM STRUCTURAL SUPPORT[05 12 13]

EXTRUDED ALUMINUM INTERIOR MULLION, 3” WIDTH @ 4’-0” O.C. (TYP)(SILICON GASKET ENCASED FOR THERMAL BREAK)[08 44 13]

STEEL ‘C’ CHANNEL / TRACK, 10” WIDE(ACCEPTS MESH SCREEN SYSTEM)[05 12 13]

SUPERSTRUCTURE COLUMN, STEEL ‘W’ SHAPE (2’-0” x 1’-0”) IN COLUMN GRID @ 24’-0” O.C.CONTINUOUS TO GROUND WITH SPLICES[05 00 00]

North

SECTION

[34]

DETAIL INVESTIGATION #1 - WEST ELEVATION

INTEGRATED LED LIGHT TUBING, WOVEN WITH ARCHITECTURAL STEEL MESH[26 55 61]

STAINLESS STEEL ARCHITECTURAL WOVEN MESH(EMPLOYED AS ROLL UP SCREEN SHADING SYSTEM)[05 73 16]

AIRCRAFT CABLE, STAINLESS STEEL, 1/4” DIAMETER(ASSEMBLY ACTS AS GUIDE AND STABILZER FOR AUTOMATION OF MESH SCREEN SYSTEM)[05 15 19]

[35]

DETAIL INVESTIGATION #1 - SECTION

EXTRUDED ALUMINUM STRUCTURAL SPANDREL PANEL, INSULATED[08 44 26]

STAINLESS STEEL CUSTOM BENT ANGLECURTAIN WALL CONNECTION, WELDED @ 4’-0” O.C.[05 00 00]

FLOOR JOIST, STEEL ‘W’ SHAPE (1’-6” x 1’-0”) @ 12’-0” O.C.[05 00 00]

BOLTED STEEL ANGLE CONNECTION, BEAM TO BEAM, (4) 1”-0” BOLTS[05 00 00]

FINISHED FLOOR, RECLAIMED WOOD PLANKS[09 64 29]

COMPOSITE METAL DECKING, 3” RIBS, 12’-0” SPANSHEAR STUDS WELDED TO FLOOR BEAMS FOR ADDED STRUCTURAL INTEGRITY[09 64 29]

LIGHTWEIGHT CONCRETE DECK TOPPING3” POUR ABOVE RIBS, CAST-IN-PLACE (PUMPED)[03 31 16 (03 37 16)]

STEEL PLATE, COLUMN SPLICE (16) 1” BOLTS[05 00 00]

GLAZING, DUAL PANE, CURTAIN WALL SYSTEM(TOP AND BOTTOM PANELS OPERABLE FOR NATURAL VENTILATION)[08 81 00 (08 75 16)]

AUTOMATED SHADING SYSTEM MECHANICAL EQUIPMENT[08 75 13]

SUPERSTRUCTURE COLUMNM, EXPOSED(TREATED WITH 70 m INTUMESCENT LATEX FIREPROOFING PAINTFOR 2 HR. FIRE RATING)[(09 96 07)]

[36]

PHYSICAL MODEL

[37]

SECTION

SKETCH

FLOOR

PLAN

SKETCH

NAZARÃ WALL INTERVENT ION IN GRANADA SPA IN AS INSP IRAT ION ( IMAGE: Anton io J imÃnez To r rec i l -las )

INITIAL DEVELOPMENT - DETAIL INVESTIGATION #2

[38]

Logos gives a conceptual understanding to the design explored in detail. It is the essence of the design and drives the larger conceptual moves, defining what the detail should acheieve. Techne is the material technique, the way in which the concept becomes realized. Techne becomes the art behind the materialization of the essence.

LOGOS

Filtered reality can be experienced in a number of ways. In any case the oberserver or investigator, the guest, can choose to engage the screen and participate or the screening can occur without required interaction. Dynamic stimulae allow the guest to have increased interaction and open the possibility for fully interactive media. Conversely, static filters don’t require any guest input beyond sight.

TECHNE

The media mesh wall allows guests to interact both with its visual dynamic stimulus, and its operability. The disintegrated metal panel system in this detail is an example of static filtered reality. The effect is the same allowing the guest to experience new viewpoints, however interaction beyond simple observation is not necessary. Through random and controlled openings in the panel system the guest is made aware of the concrte structural wall behind, increasing their awareness.

LOGOS + TECHNEN

Detail Area Investigated in Exploration # 2

[39]

MATERIALS RESEARCH + CUT SHEETS

The dimensions and material relationships shown in this detail are

and have been exaggerated for clarity. Actual dimensions will vary, and should be carefully coordinated with sequencing and construction tolerances to ensure the long-term durability and performance of this and similar exterior wall details.

Interface conditions between building envelope materials, components and systems should be fully detailed in a manner that is both technically sound and serviceable. Detailing should, at a minimum, allow for coordination of drainage planes when two or more different wall types are used in the same facade; allow for thermal and moisture-induced changes in material properties and differential thermal movement; and allow for in-service deflection, shrinkage, creep and similar behavior considered to be within the allowable structural limits of the project without compromise to the weather-tight integrity and thermal performance of the building envelope.

The air barrier can either be formed by employing the interior side airtight drywall approach or an exterior side air barrier.

The location of or need for a vapor retarder within wall assemblies will vary based upon climate, and can be significantly influenced by the storage capacity and vapor permeance of the materials selected for each layer of the wall system. A climate-specific, hygrothermal analysis for any wall assembly should be considered to further evaluate this concern.

See the General section of the WBDG for additional information and guidance.

METAL PANELOUTSIDE CORNER - OVERALL DETAIL

The details, graphics and related information shown above are intended to illustrate basic design concepts and principles only and should be considered collectively with the appropriate narrative sections of the Whole Building Design Guide (WBDG). The information contained herein is not intended for actual construction, and is subject to revision based on changes and/or refinements in local, state and national building codes, emerging building envelope technologies, and advancements in the research and understanding of building envelope failure and failure mechanisms. The actual design and configuration of these and similar details will vary based upon applicable local, state and national building code requirements, climatic considerations, and economic constraints unique to each project. Full compliance with the manufacturer's recommendations and recognized industry standards for each building envelope material, component and system specified for this and similar exterior wall assemblies is recommended, and should be reflected in the appropriate sections of the project specifications.

To install a metal panel wall or roof system there are a number of seaming options for varying levels of aesthetic, connection detail, and installation complexity. The flat metal panelized system in use in this detail is an overlap snap in place seam for its simplistic installation, but also its minimal aesthetic.

The cut sheet below shows one typical configuration detail for a raised metal panel system. While this system is not entirely similar to the flat panel system utilized, this detail and others like it provided insight on how to detail a system of this nature.

[40]

GLAZING, DUAL PANE, CURTAIN WALL SYSTEM[08 81 00]

4” RIGID INSULATION, EXTRUDED FOAM BOARD[07 21 13]

OSB PLYWOOD SUBSTRATE NAILING SURFACE1” THICK[06 16 33]

WATERPROOFING MEMBRANE, THERMOPLASTIC SHEET[07 13 54]

FLAT PANELIZED METAL WALL FINISH SYSTEMVARIABLE LENGTH, 1’-0” HIGH PANELS, SNAP SEAM[07 42 13]

FINISHED WALL SURFACE, PAINTED GYPSUM BOARD[09 21 16]

North

SECTION

METAL STUD FRAME, 3” x 8” STUDS[05 41 00]

DETAIL INVESTIGATION #2 - FLOOR PLAN

[41]

4” RIGID INSULATION, EXTRUDED FOAM BOARD[07 21 13]

OSB PLYWOOD SUBSTRATE NAILING SURFACE1” THICK[06 16 33]

WATERPROOFING MEMBRANE, THERMOPLASTIC SHEET[07 13 54]

FLAT PANELIZED METAL WALL FINISH SYSTEMVARIABLE LENGTH, 1’-0” HIGH PANELS, SNAP SEAM[07 42 13]

METAL STUD FRAME, 3” x 8” STUDS[05 41 00]

DETAIL INVESTIGATION #2 - NORTH ELEVATION

FLAT PANELIZED METAL WALL FINISH SYSTEM[07 42 13]

CONCRETE BEARING + SHEAR WALL, 2’-0” THICKSITE CAST, TILT UP PANELS[03 47 13]

REVEAL, SHADOW LINE, OPEN TO CONCRETE WALL1’-0” DEPTH[** ** **]

MOISTURE SEPARATION, AT GRADE REVEAL1’-0” HEIGHT[** ** **]

[42]

TYPICAL STEEL SUPPORTED COMPOSITE DECK FLOORING SYSTEMAS DEFINED IN DETAIL INVESTIGATION 12’-0” STRUCTURAL DEPTH[** ** **]

CONCRETE FOUNDATION WALL, 2’-0” THICKCURBED 1’-6” ABOVE GRADE[03 31 13]

FINISHED CEILING SOFFIT, GYPSUM BOARDVARIABLE HEIGHT WITH HIDDEN COVE LIGHTING[09 58 00]

CONCRETE BEARING + SHEAR WALL, 2’-0” THICKSITE CAST, TILT UP PANEL WITH REBAR REINFORCEMENT + TIES[03 47 13]

DETAIL INVESTIGATION #2 - SECTION

[43]

[44]

[6] TECHNICAL INTEGRATION

During this project a half-semester course was also being completed in technical integration, ARCH 568. Here we studied structure, envelope, service, site, and interior systems for integrative design strategies. Over the course of the class an in-depth study was completed on a building, dissecting its systems and diagramming successful integration strategies

This experience became a strong design driver in complet-ing the detail area investigations for the final portion of this project. Working to acheieve further credit in the course, a supplemental directed study was taken on in which these techniques and diagramming practices were applied to the detail designs.

[45]

BUILDING SERVICES PLAN

As an exercise in integrated systems design and configuring the overlaps and conflicts so common with mechanical, plumbing and electrical systems, this extension of the project focussed on diagramming the building services systems.

In plan, section, and detail, common mpe spaces were mapped out to explore their complexity and spatial layers.

air handler + plenum system

common plumbing walls

electrical service spaces + conduit grid

vertical circulation cores

[46]

BUILDING SERVICES SECTION

[47]

DETAIL 1 - INTEGRATION PLAN

6” ROUND FLOOR DIFFUSER, COLD AIR + AIR CHANGESPLACED ON 12’ X 8’ GRID

FRESH AND COOL AIR PLENUMSTRANSVERSE PLACED IN BEAM VOIDS

VERTICAL WATER MAINPOTABLE + WASTE LINES, PLACED IN COLUMN VOID

ON SHARED PLUMBING WALL BETWEEN 2 GUEST SUITES

ELECTRICAL CONDUIT AT 4’-0” INTERVALS. LONGITUDINALLY PLACED IN COMPOSITE DECKING VOIDS

North

SECTION

[48]

DETAIL 1 - INTEGRATION SECTIONRADIANT HEAT BASE UNIT, TYPICAL AT GLAZED WALL

OPERABLE CURTAIN WALL GLAZING PANEL FOR PASSIVE VENTILATIONAND HOT AIR EXHAUST

IN FLOOR FRESH AIR DIFFUSER, ZONED BY ROOM

UNDERFLOOR AIR SUPPLY PLENUM, 6” DIAMETERPLACED IN STRUCUTRAL BEAM VOIDS

RADIANT IN FLOOR HEATING, PIPING CAST IN COMPOSITE DECKING

FLOOR ELECTRICAL CONDUIT RUN FOR WALL + FLOOR OUTLETSLONGITUDINALLY PLACED IN DECKING VOIDS AT 4’-0”

VERTICAL POTABLE AND WASTE WATER SUPPLY PIPING

CEILING ELECTRICAL CONDUIT RUN FOR LIGHTING + EQUIPMENTTRANSVERSE IN BEAM VOIDS

OPERABLE CURTAIN WALL GLAZING PANEL FOR PASSIVE VENTILATIONAND COOL AIR INFLOW

[49]

DETAIL 2 - INTEGRATION PLAN

RADIANT HEAT BASE UNIT, TYPICAL AT GLAZED WALL

ELECTRICAL CONDUIT AT 4’-0” INTERVALS. LONGITUDINALLY PLACED IN COMPOSITE DECKING VOIDS

FRESH AND COOL AIR PLENUMSTRANSVERSE PLACED IN BEAM VOIDS

VERTICAL ELECTRICAL CONDUITPLACED IN RIGID INSULATION FOR WALL OUTLET ACCESS

6” ROUND FLOOR DIFFUSER, COLD AIR + AIR CHANGESPLACED ON 12’ X 8’ GRID

North

SECTION

[50]

UNDERFLOOR AIR SUPPLY PLENUM, 6” DIAMETERPLACED IN STRUCUTRAL BEAM VOIDS

FLOOR ELECTRICAL CONDUIT RUN FOR WALL + FLOOR OUTLETSLONGITUDINALLY PLACED IN DECKING VOIDS AT 4’-0”

IN FLOOR FRESH AIR DIFFUSER, ZONED BY ROOM

ELECTRICAL CONDUIT RUN FROM TRACKS IN BEAM FOR SOFFIT LIGHTINGWIRES RUN AT SOFFIT HANGAR LOCATIONS

DETAIL 2 - INTEGRATION SECTION

[51]